Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mauritania and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1971.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lindisfarne to the rock kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Second Layer. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Severed Heads,
Roxy Music,
Nico,
Kings Of Tomorrow,
cv313,
Negative Approach,
World's Most,
Tom Boy,
The Count Five,
Bang On A Can,
The Gun Club,
Joy Division,
Spoonie Gee,
Grandmaster Flash and the Furious Five,
Eli Mardock,
Fela Kuti,
Theoretical Girls,
Pulsallama,
Livin' Joy,
Grauzone,
Cluster,
The Music Machine,
The Fuzztones,
Vladislav Delay,
Main Source,
Echospace,
Matthew Bourne,
Newcleus,
Visage,
Anthony Braxton,
Television,
Gil Scott-Heron and Jamie xx,
The Doors,
Bootsy Collins,
Liaisons Dangereuses,
Derrick May,
Toni Rubio,
Gang Starr,
Aural Exciters,
Reuben Wilson,
Marmalade,
Cymande,
Bang on a Can All-Stars,
Mr. Review,
Strawberry Alarm Clock,
Byron Stingily,
La Düsseldorf,
The Neon Judgement,
Fear,
Dennis Brown,
Marcia Griffiths,
Scratch Acid,
Jawbox,
Art Ensemble Of Chicago,
Stetsasonic,
Chris & Cosey,
Underground Resistance,
Kenny Larkin,
The Cramps,
Prince Buster,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.